NEW YORK (AP) — A decade after Jennifer Kent’s groundbreaking film “The Babadook” first hit theaters, it opened in only two locations. Next month, it will return to the big screen in 500 cinemas nationwide.
“It’s both strange and wonderful,” Kent comments from Australia. “I can hardly believe it’s been 10 years. But it’s thrilling to revisit it.” She reflects on the film’s humble beginnings, saying, “Given that it was only shown on such a limited number of screens, I take pride in its continued relevance.”
“The Babadook,” a haunting tale that explores the challenges of parenthood while paving the way for a new wave of innovative horror films, is among a number of classics getting the anniversary treatment this year. If you check the marquises at most movie theaters today, you’ll likely spot not only new releases but also a selection of beloved older films.
In an age where most movies are available for streaming at home, classic films are drawing audiences back to theaters. The concept of repertory cinema, traditionally associated with indie films, is now making a resurgence in multiplexes.
Recent box office figures are impressive. In just two weeks, the beloved stop-motion animation “Coraline,” released in 2009 and created by Laika Studios, has earned over $25 million, a remarkable achievement for a movie that’s 15 years old. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” also pulled in $19.4 million globally.
This fall, audiences can look forward to anniversary screenings of films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While returning restored classics to theaters is a well-established practice, it’s becoming increasingly common to see more recent films enjoying broad re-releases, with audiences flocking to catch them on the big screen.
“The Babadook,” an indie film that achieved cult status thanks to widespread acclaim—William Friedkin referred to it as an instant classic—is likely to surpass its original box office take of $1 million in North America.
“It has attracted a new wave of fans,” says Nicole Weis, the vice president of distribution for IFC. “Most of them never got to see it in theaters. This re-release strategy allows those who have fallen in love with the film to experience it as it was meant to be seen—on the big screen.”
Although box office numbers have not yet returned to pre-pandemic levels, this drop can be partially attributed to fewer movies being available. The pandemic led to significant disruptions in film production, resulting in a smaller number of releases this year.
Toshirô Mifune in a scene from the 1954 film “Seven Samurai.” (Janus Films via AP)
To address the gap in available films, the nation’s largest theater chains—AMC, Regal, and Cinemark—established Fathom Events in 2005. This organization focuses on distributing live broadcasts of events like the Metropolitan Opera and special screenings, including the annual Studio Ghibli Fest, showcasing beloved animated classics. Its recent release of “Coraline,” complete with 3-D showings, has broken new ground for Fathom.
“There has been a significant rise in interest for classic films,” states Ray Nutt, Fathom’s CEO. “This year, we’re anticipating a 75% growth in this category compared to last year.”
Initially, Fathom aimed to screen films during off-peak days such as Mondays and Tuesdays. However, they have expanded their repertoire. This year, one of their major successes was a three-day showing of the “Lord of the Rings” trilogy. Upcoming classic film screenings include anniversary presentations of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”
“We often playfully debate what definition defines a classic movie,” Nutt adds. “It used to be that a classic was considered to be a film about 50 years old, but now we’re discussing ‘Coraline’ at just 15 years.”
Some streaming services tend to bury older films on their platforms, but in today’s overwhelming digital landscape, the timeline of a movie’s release is less significant. Films like “Titanic” and “The Equalizer” have recently climbed the charts on Netflix’s most-viewed lists. The distinction between watching in theaters and at home is shifting; it’s more about the experience. Would you prefer to see “Jaws” lounging on your couch while scrolling through your phone, or in a packed theater with a captivated audience?
Mark Anastasio, program director of the Coolidge Corner Theatre in Brookline, Massachusetts, observed a growing interest in older films when the theater reopened after the pandemic hiatus. At that time, there were fewer new films to screen.
“The demand for repertory films has not waned,” Anastasio notes. “We have six screens here. Previously, we might run an older film once or twice a week in the evening. Now, we offer an older movie every night, including weekends. The demand is there.”
As a result, Anastasio can curate unique programming, digging deeper into filmmakers’ libraries—and audiences are responding positively. Recently, he had a full house for a 35mm screening of Spike Lee’s “Inside Man,” and Friedkin’s 1977 thriller “Sorcerer” also drew a large crowd. Upcoming offerings include three weeks of 70mm showings (“Lawrence of Arabia,” “Inception”) and a series dubbed “Schlock and Awe,” focusing on classic William Castle films with their original gimmicks, like vibrating seats for “The Tingler.”
This sort of programming is common at urban arthouse theaters but is expanding further into mainstream venues. Some of this shift is due to necessity.
“There are approximately 20 to 30% fewer films being released widely now compared to five years ago,” shares Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York. “This has led to more gaps in weekend programming.”
Boviard has had to choose films that will resonate with the Hudson Valley audience, but some selections have really hit the mark. Last year, for instance, they celebrated the 40th anniversary of Jonathan Demme’s Talking Heads concert film “Stop Making Sense.” Released by A24, the company is known for its cutting-edge contemporary films, but has begun to experiment with re-releases. “Stop Making Sense” generated over $5 million in the domestic box office.
The trend of re-releasing films is unlikely to stall. Studios now routinely revisit their archives with an eye for anniversaries. For Kent, this shift is a welcome change in what she describes as “a dark age for cinema.”
“It seems that people still long for that shared cinema experience,” says Kent. “Just recently, I watched Dreyer’s ‘Ordet’ and Bergman’s ‘The Seventh Seal.’ Especially during ‘Ordet’, it felt transcendent. You could hear people crying at the film’s conclusion. That’s why we go to the cinema in the first place—to have a meaningful experience together, not to sit on our sofas, distracted by our phones as we watch random content. This habit doesn’t highlight the essence of storytelling or our engagement with the art form.”
“For me,” Kent concludes, “this is something we should take seriously, as it’s something we truly need.”
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